This issue, entitled Art Periodicals as Iconic Media, is the dedicated to the role of art periodi... more This issue, entitled Art Periodicals as Iconic Media, is the dedicated to the role of art periodicals in Italian Art since 1960. The issue concentrates on art periodicals as vehicles for images, rather than periodicals as platforms for the debates of art critics.
This issue, entitled Art Periodicals as Iconic Media, is the second one dedicated to the role of ... more This issue, entitled Art Periodicals as Iconic Media, is the second one dedicated to the role of art periodicals in Italian Art since 1960. The issue concentrates on art periodicals as vehicles for images, rather than periodicals as platforms for the debates of art critics.
This issue is dedicated to the sci-fi imagery in Visual Arts during the period of the so-called “... more This issue is dedicated to the sci-fi imagery in Visual Arts during the period of the so-called “Space Race”. Since the first launch of the Sputnik 1 (1957) until the first “Onward to the Moon” by Neil Armstrong and Buzz Aldrin (1969), Visual Arts seemed to be inspired by that decade of hectic technological competition between US and USSR. If many Western artists were fascinated by this space adventure, in Italy this topic was early evoked by the manifest of Spatialism and by the works of Arte Nucleare, reaching the peak with the playful and immersive Fabio Mauri's lunar environment for the show Il teatro delle mostre, in 1968.
Palinsesti’s double-issue “Yet, Who Is The Genius?” includes articles that address women’s art an... more Palinsesti’s double-issue “Yet, Who Is The Genius?” includes articles that address women’s art and criticism in postwar Italy. Looking at work created by artists from the 1960s to the present, this issue casts light on generational differences while acknowledging persisting inequalities in the art world.
Palinsesti’s double-issue “Yet, Who Is The Genius?” includes articles that address women’s art an... more Palinsesti’s double-issue “Yet, Who Is The Genius?” includes articles that address women’s art and criticism in postwar Italy. Looking at work created by artists from the 1960s to the present, this issue casts light on generational differences while acknowledging persisting inequalities in the art world.
This issue of Palinsesti will aim to reframe Italian art from the late 1970s and the 1980s, throu... more This issue of Palinsesti will aim to reframe Italian art from the late 1970s and the 1980s, through a multidisciplinary lens that merges such fields as social history, the study of artistic and visual practices, the study of literature, and music, as well as the new philosophical paradigms of that time.
This second issue of "Living in the wind" will delve into marginal and overlooked phenomena of th... more This second issue of "Living in the wind" will delve into marginal and overlooked phenomena of the 1980s through the rediscovery of artists, movements, polemics usually neglected by the historiography on this period.
"Italianicity is not Italy": Questioning Contemporary Italian Art History, 2023
Not unified as a nation state until 1861, what we mean by “Italy” and “Italian” culture is often ... more Not unified as a nation state until 1861, what we mean by “Italy” and “Italian” culture is often complex in temporality and even anachronistic with regard to the history it engages. Within contemporary Italy and Italian culture persist histories that inform Italy’s present but can be, as Igiaba Scego has recently written, “uncomfortable traces of our past” (Scego, “Cosa fare con le tracce del nostro passato,” 2020). Histories of colonialism and fascism, for example, continue to inform current debates surrounding migration and Italy’s increasing multi-ethnicity. Recent scholarship on race and biopolitics (Rhiannon Noel Welch, Vital Subjects, 2016), empire and mobility regimes (Ruth Ben-Ghiat, Italian Fascism’s Empire Cinema, 2015; Stephanie Malia Hom, Empire’s Mobius Strip, 2019), and postcoloniality in Italian Studies (Cristina Lombardi-Diop and Caterina Romeo, eds., Postcolonial Italy: Challenging National Homogeneity, 2012) has shed light on contemporary Italy’s understudied sites of identity and often negated histories. Although this scholarship is bringing the so-called postcolonial turn to bear upon studies of contemporary Italian culture, more remains to be done – especially in art historical studies of contemporary Italian art. Indeed, although works by artists of color and themes of migration have been included and addressed in recent years by major exhibitions in Italy, these artists are almost always non-Italian. The need for postcolonial art historical studies of contemporary Italian art history is marked and overdue.
This issue, entitled Art Periodicals as Iconic Media, is the dedicated to the role of art periodi... more This issue, entitled Art Periodicals as Iconic Media, is the dedicated to the role of art periodicals in Italian Art since 1960. The issue concentrates on art periodicals as vehicles for images, rather than periodicals as platforms for the debates of art critics.
This issue, entitled Art Periodicals as Iconic Media, is the second one dedicated to the role of ... more This issue, entitled Art Periodicals as Iconic Media, is the second one dedicated to the role of art periodicals in Italian Art since 1960. The issue concentrates on art periodicals as vehicles for images, rather than periodicals as platforms for the debates of art critics.
This issue is dedicated to the sci-fi imagery in Visual Arts during the period of the so-called “... more This issue is dedicated to the sci-fi imagery in Visual Arts during the period of the so-called “Space Race”. Since the first launch of the Sputnik 1 (1957) until the first “Onward to the Moon” by Neil Armstrong and Buzz Aldrin (1969), Visual Arts seemed to be inspired by that decade of hectic technological competition between US and USSR. If many Western artists were fascinated by this space adventure, in Italy this topic was early evoked by the manifest of Spatialism and by the works of Arte Nucleare, reaching the peak with the playful and immersive Fabio Mauri's lunar environment for the show Il teatro delle mostre, in 1968.
Palinsesti’s double-issue “Yet, Who Is The Genius?” includes articles that address women’s art an... more Palinsesti’s double-issue “Yet, Who Is The Genius?” includes articles that address women’s art and criticism in postwar Italy. Looking at work created by artists from the 1960s to the present, this issue casts light on generational differences while acknowledging persisting inequalities in the art world.
Palinsesti’s double-issue “Yet, Who Is The Genius?” includes articles that address women’s art an... more Palinsesti’s double-issue “Yet, Who Is The Genius?” includes articles that address women’s art and criticism in postwar Italy. Looking at work created by artists from the 1960s to the present, this issue casts light on generational differences while acknowledging persisting inequalities in the art world.
This issue of Palinsesti will aim to reframe Italian art from the late 1970s and the 1980s, throu... more This issue of Palinsesti will aim to reframe Italian art from the late 1970s and the 1980s, through a multidisciplinary lens that merges such fields as social history, the study of artistic and visual practices, the study of literature, and music, as well as the new philosophical paradigms of that time.
This second issue of "Living in the wind" will delve into marginal and overlooked phenomena of th... more This second issue of "Living in the wind" will delve into marginal and overlooked phenomena of the 1980s through the rediscovery of artists, movements, polemics usually neglected by the historiography on this period.
"Italianicity is not Italy": Questioning Contemporary Italian Art History, 2023
Not unified as a nation state until 1861, what we mean by “Italy” and “Italian” culture is often ... more Not unified as a nation state until 1861, what we mean by “Italy” and “Italian” culture is often complex in temporality and even anachronistic with regard to the history it engages. Within contemporary Italy and Italian culture persist histories that inform Italy’s present but can be, as Igiaba Scego has recently written, “uncomfortable traces of our past” (Scego, “Cosa fare con le tracce del nostro passato,” 2020). Histories of colonialism and fascism, for example, continue to inform current debates surrounding migration and Italy’s increasing multi-ethnicity. Recent scholarship on race and biopolitics (Rhiannon Noel Welch, Vital Subjects, 2016), empire and mobility regimes (Ruth Ben-Ghiat, Italian Fascism’s Empire Cinema, 2015; Stephanie Malia Hom, Empire’s Mobius Strip, 2019), and postcoloniality in Italian Studies (Cristina Lombardi-Diop and Caterina Romeo, eds., Postcolonial Italy: Challenging National Homogeneity, 2012) has shed light on contemporary Italy’s understudied sites of identity and often negated histories. Although this scholarship is bringing the so-called postcolonial turn to bear upon studies of contemporary Italian culture, more remains to be done – especially in art historical studies of contemporary Italian art. Indeed, although works by artists of color and themes of migration have been included and addressed in recent years by major exhibitions in Italy, these artists are almost always non-Italian. The need for postcolonial art historical studies of contemporary Italian art history is marked and overdue.
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https://teseo.unitn.it/palinsesti/issue/view/91
https://teseo.unitn.it/palinsesti/issue/view/92
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https://teseo.unitn.it/palinsesti/index
Deadline: July 1st, 2022.
For submission instructions, please sign in at https://teseo.unitn.it/palinsesti/issue; for other details contact palinsesti.journal@gmail.com